ISTD News: Rebecca de Mendonça at ISTD2

Energy & Emotion – Paintings of Dance
Rebecca de Mendonça at ISTD2

The ISTD is delighted to currently be hosting Rebecca de Mendonça’s exhibition entitled ‘Energy & Emotion – Paintings of Dance’ at ISTD2 Dance Studios in London until 31st May 2007. We caught up with Rebecca as the exhibition got underway to find out about her career so far and why dance is proving to be such a fulfilling subject for her art…


Rebecca in her studio	Andre Portasio as Carabosse

Rebecca, tell us about your exhibition

The exhibition shows a collection of paintings and sketches produced over the last two years, inspired by watching dance in rehearsal and performance. Many of the paintings are of dancers from my two main sources of inspiration; English National Ballet and the students at Laine Theatre Arts.

My dance work really started at Laine Theatre Arts, when Miss Laine welcomed me in to sketch during classes and rehearsals, The high level of expertise of tutors and students energizes me and teaches me so much. Many of the paintings in the exhibition were created in response to the sheer dynamic force of their incredible performances.

David Wall saw an exhibition of my work at one of Laine Theatre Art’s shows, and invited me to sketch English National Ballet. This was an experience that took my breath away. Their exquisite grace, discipline, and dedication to excellence inspired me to produce the paintings in this exhibition based on their production of Sleeping Beauty 2005–2006. I observed them backstage at the Coliseum, where I sketched in the dark, and asked dancers to pose between scenes.

Dancers like André Portàsio, who played Carabosse are a gift for an artist, with his flamboyant personality, and his love of character roles.

Take us through the creative process that results in one of your paintings

My paintings start in two different ways. Some of them are a result of being moved by watching a performance. In this case, I try to see the performance or dancer again, and then ask them to pose for me, for quick sketches and photographs. Using this reference, and the feeling of the atmosphere of the moment that is etched indelibly in my memory, I try to evoke the energy and emotion of that moment of inspiration.

My paintings can also start as commissions, when the dancer approaches me to try to capture their individuality. I really enjoy commissions, because I am actually very shy, and find it extremely hard to approach performers and ask them to pose for me (I would have been hopeless as a performer, as I hate drawing attention to myself!).

The important thing with this sort of painting is the process of capturing the spirit of the performer. Sometimes people like to be painted playing a particular role, which can lead to really exciting paintings, with the feel of live performance.

Tell us about your past career as an artist

I was taught to draw by my parents. My mother was an art teacher and my father an architect. My love of the theatre started when I studied for my BA Hons degree in Theatre Design at Wimbledon School of Art. After graduating I began a varied career in the arts, working in theatre, interior design, sculpture and illustration.

I have been extremely lucky to have worked with talented designers such as Kevin McCloud and Maria Bjornson, on projects ranging from Harrods Food Hall to Phantom of the Opera, as well as specialist painting for the BBC. I have exhibited at the Embassies of the Baltic States and other London venues.

I returned to the theatre after a break of many years, after seeing ‘Peter Pan’ at the Savoy Theatre in 2004. It was such a beautiful production, that I realised I had to capture it in paintings. Through my old contacts I managed to sketch backstage, and the resulting work led to commissions such as Gavin Lee in Mary Poppins and then on to dance work and this exhibition.

Where does your interest in dance stem from?

I think my interest in dance started as a child, like so many little girls. The first ballet I saw was coincidentally ‘Sleeping Beauty’. I must have been about eight at the time and was then determined to be a ballet dancer. As I lacked a certain talent, it was a good job I discovered I could draw!

I went to study theatre design as a result of seeing Ballet Rambert perform Ghost Dances at Birmingham Rep when I was eighteen. I can still feel how the hairs on the back of my neck stood up when the ‘ghosts’ came in, and I realized the power of creating an atmosphere.

I have always loved the beauty of line, and I think the human body is at it’s most beautiful when dancing. To see someone move gracefully touches my soul.

What are your plans for the future?

In the near future I would really like to develop my commission work.

I love the exchange of energy that occurs when people from different creative disciplines work together. I am intrigued by how different dancers are in their approach to their work as well as their body language. There are so many beautiful dancers I have not yet met, and so many types of dance to explore.

In the long term I will always be striving to develop my drawing skills and knowledge of anatomy. I feel that drawing is a skill that is rarely taught these days, and I am constantly seeking ways to improve my skills.

Where can people find out more about your work and the exhibition at ISTD2?

There is information about the exhibition and my other current work on my website. I am always happy to discuss commissions on the phone or in person.

www.rebeccademendonca.co.uk
Tel: 020 8393 7713

For the address and directions to ISTD2, please click here

Interview by Victoria Blackburn